Since the emergent of sound films, Sergei Eisenstein who was interested in using auditory elements with visual elements analyzed the forms and cases that visual and auditory elements were combined with the aspect of collision. It was called ‘vertical montage.’During the early years of his works, Eisenstein actively developed montage theory and put the basic principle of collision montage on naked counterpoint. However, it was changed to harmonious counterpoint for the next 30 to 40 years. Eisenstein saw visual and auditory elements could be holistically harmonized through accord or disaccord of screen or sound beat. His perpendicular montage developed with technology of sound effects including film scores. Its name was replaced as ‘sound montage’and more progressed and used in diverse forms. In modern films, wild track or various sound effects are expanded used more than films in the past. Sound montage has the same principle concept with perpendicular montage in aspect of creating effects through harmonious combination with visual and audio. However, its function of use and applied area are more diverse and deep. Based on this background, I would like to understand the concept of Eisenstein’s perpendicular montage which analyzed and harmony of visual and audio with counterpoint. Then, I would like to apply each concept into modern films and analyze the principle concept of perpendicular montage reflected on modern films which is escaped from the frame of classic or modern. In addition, I would like to analyze about the development motif of sound montage naturally emerged with the development of technology, and suggest various cases that are applied in films. The purpose of this analysis is to get verified data to predict the new form of montage technique applied in the future.
1. 들어가며
2. 세르게이 에이젠슈테인의 수직적 몽타주
3. 수직적 몽타주에서 사운드 몽타주로의 이행
4. 마치며
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